Only adults are admitted. Nobody younger than 18 can hire or listen to Psykhomantus in the club or your speakers with this rating. The DJ under this category do not have limitation on the bad language that is used. Hard Beats are generally allowed, and strong Scratchin/Beat Juggling along with Body Tricks activity is also allowed. Scenes of strong real sex may be permitted if justified by a fly groupie.
Well! It's no secret that I do have another side to my life... a wild side that is and that is Sex. Nothing is better than chilling with a fine ass Goddess saying nothing but.... Well! You know what am saying. Arielle Loren (founder of Corset Magazine) is my new friend that I met by another erotic online friend name Tracy Renee Jones (who is a great spoken word artist). We talked about music (and other stuff) and Arielle wanted me to hook up a mixtape for her on-line magazine as they are now on their "Sensuality, Sexuality & The Eroctic A 20-City Global Tour". Check out www.corsetmagazine.comand enter their erotic world. Below is a little info about Corset and hear the sleek and sexy mixtape mixed by your's truly. CORSET was first concepted and launched in 2011 after its founder, Arielle Loren, saw a wide gap in the media landscape for educational, sensual, and personal conversations about sex that happen to be women-friendly. Focusing on visually stimulating, intellectual, and relatable content, The Magazine debuted as a quarterly publication to eager fans ready for something more than Playboy or a dense academic sexuality journal. CORSET has quickly risen to become more than just a media platform for empowering, comfortable, and inspiring dialogue about sex. It’s become a space for ordinary people to contribute and discuss their desires, questions, and curiosities on their roads to sexual empowerment. It’s the place where women have their inner sexual thoughts heard, where men can be tender and express their sexual hangups, where LGBT readers can experience affirmation, where sex workers and human trafficking activists can strategize for dual-sided legislative protections, where people, in general, can speak and feel respected. CORSET is the people’s desire for dialogue, manifested. It’s a seed in a growing movement and much needed mainstream shift in sexual consciousness.
1. Intro 2. All 4 You feat Erykah Badu & Shafiq Husayn- Om'Mas Keith 3. U Love feat Renee Neufville- Seravince 4. Breakfast Can Wait- Prince 5. Afro Blue feat Erykah Badu (9th Wonder Remix)- Robert Glasper 6. Call Out My Name- Freddie Joachim 7. Everytime feat Rahel- Eric Lau 8. Everything feat Chris “Daddy” Dave- Renee Neufville 9. Ikarus- Ladi6 10. Vanguard- Jose James 11. (Love Is) Here Now- Sean J. Rankine Download Link: http://www.sendspace.com/file/3iabl1 Bonus: Arielle Loren (Founder) Video
April has been a crazy busy month as I'm in between a theatre production for Gemma Weekes "SewKee MmeGa... Alien From Inner Space", my turntablism project "Drunken Juggles: The Eight Immortals Technique" and my usual gigs I rock. Last year I was dropping crazy mixtapes left right and centre but I wanted to fall back from that this year and focus more on my other projects. But as I am known for putting out mixtapes for the people I wanted to get back and re-connect with my close friends in entertainment. To continue the A Mantus Joint (Lol! Like I was Spike Lee or something) which features Kenny Dust, Soweto Kinch, Rob Swift, Juice Aleem, Madflow, Son Of Dan, K.E.V., Heidi Vogel and Flyza. Now added to the family is Dezaray Dawn who I met via the internet on Coopr8.com back in 2008. With a new project to come and a new super cool look, Check out the one to one interview below and enjoy the The Futuristic Sounds Of Dezaray Dawn mixtape.
Psykhomantus: Okay, so first question. When did you know you have the gift to use your voice to become a singer? Dezaray Dawn: I was always singing around the house as a child. My mother was a singer with a local band, so I would mimic her alot. She eventually put me in Chorus classes in high school and I guess that was confirmation to me that I could sing pretty well. P: What gets you in the mood to write your songs and Have you ever have anyone written songs for you? D: High emotion whether good or bad motivated me to write. I try and search for exactly how I feel during the moment or reflect on when I felt a certain way in the past. I have co written songs with other people but I have not had anyone write a song for me. I use to do spoken word before I started writing songs, so its important to me to be a part of the writing process.
P: Can you remember your favourite performance?
D: My favorite performance so far was during my first release party for Chameleon EP, which was done during the International Soul Music Summit here in Atlanta. I was there with Dazikue from Bug in the Attic, Mark de Clive Lowe, Lady Alma and NDambi were there in attendance so I was so excited to be among such great artists.
P: Is their a performance that you've done and said to yourself that you could of done that better?
D: Im very critical of myself performance wise during every performance. So I always leave the stage with I could have dont this better remarks in my head lol.
P: I came across you on Coopr8's website and fell in love with your song Chameleon which you produced. When did you knowledge that you can do this as a producer too?
D: I am very influenced by the music that come out of the UK. I didnt know anyone at the time that was making music like that around me, so I took a stab at trying to create it myself. I still have alot of growing to do in production, but its fun learning along the way.
P: So tell me which 5 dream producers you would like to have produce a track for you?
D: Dego and Atjazz so far are my favs!
P: What's do you class as the golden era for good music. 70s, 80s, 90s or 00's?
D: I think knowledge of the 70s,80s,90s music is collectively a golden age of good music.
P: So tell me which 5 artists you rate or look up too?
D: I admire artists that do there own production like Erik Rico, Muhsinah, Georgia Anne Muldrow, Submotion Orchestra, and some of the vocal stylings of Amel Larrieux, Deborah Jordan and Bembe Segue.
P: I enjoyed putting your mix tape How did you feel listening to your tracks back to back and what did you think of the artwork cover?
D: The mix is dope and its fun to listen and see what mixes and blends well with what song. I really enjoyed the artwork as well, very creative and eye catching.
P: Last question. What will we be expecting in the future from you?
D: I am going to finally release my full length album "The Dawning" this summer. There are songs that some are familiar with but some news ones as well. Hope everyone likes it.
All songs written by Dezaray Dawn, Productions by Dezaray D. Frazier for Sol Heir Music, Marc Mac for Omniverse Productions, Denz and BusCrates 16-bit Ensemble, Applejac's Pre-WMC Treats,
"Intro"
"Drowning" Written by Dezaray Dawn, Produced by Marc Mac for Omniverse Productions
"Deep Waters" Written by Dezaray Dawn, Produced by Marc Mac for Omniverse Productions
"Deep Waters (Denz Remix)" Written by Dezaray Dawn, Produced by Denz
"Sail Away" Written by Dezaray Dawn, Produced by Marc Mac for Omniverse Productions
"Can't Lock Down" Written and Produced by Dezaray D. Frazier for Sol Heir Music (ASCAP) Additional programming/ arranging - Good Will
"Hide Away" Written and Produced by Dezaray D. Frazier for Sol Heir Music (ASCAP) Synth bass/ additional programming/ arranging - Good Will
"Hide Away (16-Bit Emsumble Remix)" Written by Dezaray Dawn, Produced by BusCrates 16-bit Ensemble
"B-Tween-The-Lines" Written and Produced by Dezaray D. Frazier for Sol Heir Music (ASCAP)
"Chameleon (Intro)" Written and Produced by Dezaray D. Frazier for Sol Heir Music (ASCAP) Additional drum programming/arranging - Good Will, Synth bass/ additional programming - Elijah "D.D" Holt
"Chameleon (Applejac's Sounds Of Mecca Remix)" Written by Dezaray Dawn, Produced by Applejac's Pre-WMC Treats
"Rain" Written by Dezaray Dawn, Produced by Marc Mac for Omniverse Productions
"Da Day" Written and Produced by Dezaray D. Frazier for Sol Heir Music (ASCAP) Additional drum programming/ arranging - Good Will
"Over It" Written and Produced by Dezaray D. Frazier for Sol Heir Music (ASCAP)
The Dawning (Exclusive) Written and Produced by Dezaray D. Frazier for Sol Heir Music (ASCAP)/ Additional arranging - Good Will/ Additional arranging/mixing - Kurt Hoffler Kmusicstudios Productions. Limited Download: https://soundcloud.com/dezaray-dawn/the-futuristic-sounds-of
Psykhomantus: Okay, so first Question. When did you knowledge that you can do this as a producer?
Son Of Dan: I dabbled with music production on and off for a few years in the late 90's and early 00's. Nothing too serious. I would mess around with early Cubase and sampling machines. I was a performance poet and used to hit the stages and experiment with different forms of spoken word. So that was my main creative outlet. It wasn't until I was asked to join a sound engineering scheme in Hoxton Hall that I started to look at music production as an extension of my expression. I was taught the technical aspects of laying down music in a studio environment but the guys I was studying with were incredible musicians and forward thinkers. We would experiment with sound, equipment and ideas. It was a real melting pot. The possibilities were endless. Then myself and my cousin were looking through a Sound On Sound magazine and out dropped a Turnkey catalogue. Turnkey was a very well known London musical equipment store that we would spend hours in.....just gazing. My cousin held onto that catalogue for ages and then one day I walked into his flat and saw an MPC 2000 and a Korg keyboard! That was it! From that moment we formed a production team called Hungry Africans producing hip hop. I still incorporate MPCs into my music. Almost like a homage....
P: From a fan and a outsiders (out side of London) point of view you bring in that homegrown sound meaning UK soul using Broken Beat, Afro Beat, Neo Soul, Electronica which falls into the same hands to me where IG Culture, 4Hero, Soul II Soul, Ty, Omar, Broadcite and Bugz In The Attic live. Did you vibe of each of them, study each sound to get your identity?
SOD: London is a unique city when it comes to music....so many different styles & scenes. Fusion is a big part of London's contemporary culture. So I was influenced by my uncle's afro funk & jazz record collection as much as I was by the music I was listening to in the broken or future soul scene a few years back. With all of these rich sounds around you, it's hard not to incorporate them in some form subliminally. But there wasn't any studying. When I'm in the studio, I get caught up in the moment, and that moment takes me wherever feels right. No markers, boundaries or project briefs.
P: Can you name a few people that you've produce music for?
P: How did your group Velvet Liberation come to be and what's going on with the album which I'm dying to hear?
SOD: I met Dziko aka Shepherd Manyika through Floetic Lara. He came by the studio one day and we creatively hit off straight away. As a singer/songwriter and producer he had a sixth sense as to how I worked in the studio and we would bounce ideas of each other and experiment with fusion. We found a way to translate our diaspora - his Malawian roots and my Nigerian heritage. Ray Estaire came into the mix after we recorded a few tracks. Her vocals and energy was amazing. An instant fit. We became a trio and Velvet Liberation was born. Myself and Dziko are working on a new Velvet album at the moment. It's been a few years since the last Velvet EP so the evolution and journey is apparent in the new sound. So hopefully early 2014 should be the release date.
P: As you know I like to expose music that I feel people should get to know and when I met you thought Kenny Dust and find out that you produced Lyric L's "Ooh U & I" and heard your stuff I had to stress you by putting out your Son Of Dan mixtapes. How did you feel listening to your stuff back to back?
SOD: It was interesting listening to that first mixtape as it was mainly a collection of tracks that were gathering dust and needed airing. I had always been caught up producing for other people and never really had the time to start my own project. So that collection represented the different stages that I'd been making music for myself over the last 10 years...many memories.
P: Is Lyric L back together with her boyfriend?
SOD: That's a conversation you'd need to have with L!
P: Your the founder of 3rd Steam. Can you tell me whose who and what roll do they play?
SOD: 3rdStream is a collective/community of musicians, producers, songwriters, visual artists & short film directors. There are many, many members of the collective but the core members are myself, Dziko, Kenny Dust & Enji Malone. As a new collective we are currently completing collaborative albums, EPs & singles. We are hoping to launch our interactive community website and music in May 2013.
P: So tell me which 5 dream artist would you like to produce for? I have to ask you this... Who was the most difficult person you had to work/produced for?
SOD: Wow, dream artists..I'm assuming you mean alive so Sade, Barbara Tucker, Cassandra Wilson, Georgia Anne Muldrow & Massive Attack. Five's not enough! No difficult artists thus far.
P: Last Question. What will we be expecting in the future from you?
SOD: The future is a 3rdStream one. At the moment I'm involved with the completion of projects by Kenny Dust, Enji, Rich Blk, 3rdStream Orchestra and Dziko. Plus we're near completion of the website which will be a great hub for like minded creatives to meet, network and collaborate. Also, my first EP will be out in April. It'll be a precursor to my album
3rd Stream Interview No.1: Kenny Dust Psykhomantus: Okay, so first question. When did you fall in love with Hip Hop. Lol! ? Kenny Dust: Probably around '90. I got into it through the pop charts. My first Christmas in the UK it was all about Vanilla Ice vs MC Hammer. Vanilla Ice was the Christmas number one. I got both their albums for Christmas [Laughs] That was my first introduction to rap music. After that I moved to Hackney where I met other kids who introduced me to artists like Cypress Hill, Dr. Dre etc. plus my mum had the 'Fear of a Black Planet' tape. That came with the lyrics in the inlay and that's where I really started to understand and relate to hip-hop. P: I met you in 2003 thought Artistic Director Kwesi Johnson when I was on my first theatre tour for A Hiphop Story. The group you was in was called Mad Danger. How did that come along? KD: M.a.D Danger was a crucial period for me as an artist. I was in a duo with an MC (K-Cire) older and more experienced than me. I learnt a lot and developed in that partnership as an artist and a performer. We signed a single deal around '03 which have me a taste of the inner workings of the industry. We rocked shows from London to South Africa. It was real DIY artist development. P: So when did you go from Phenom P to Kenny Dust? KD: The name change came around '04. It's about growth and transition and I just naturally gravitated toward it. It was my first time being a solo artist as I'd always been in groups or crews before that. It was an opportunity to reinvent myself and evolve as an artist and reflect the universality that I was getting in tune with at the time. P: Not many rapper I know can change up their style and feel comfortable with themselves. Which artists do you feel or look up to? KD: Well, I don't really take those kinda cues from other rappers. I'm a music lover period, and an old soul to boot so I tend to be inspired by a lot of classic artists. I die hard for Nina Simone, Gil Scot Heron, Dennis Brown, Super Cat and people like that. Their depth and diversity was effortless and not faddy or trendy. Hip-hop wise I'm a die hard Wu fan. Artists like MF DOOM, Georgia Anne Muldrow, Prince Paul, Ty and Gang Starr I respect and admire. Right now I'm feeling what Sean P, Pro Era and Black Hippy are doing. P: Your skills don't just stop on the microphone, you know how to chop a few samples. Can you tell me how you got round to knocking up beats? KD: I had to start making beats cos I have a lot of music in me and back in the day before EVERYBODY lol was making beats I couldn't find producers that could translate the sounds in my head. I did a music production course at Raw Material where I learnt to use the Akai S950 boy! Haha! Round that time I was into a lot of East Coast shit, Black Moon, Diamond D, Large Pro, Gang Starr, Pete & CL! See, just talking about it gets me excited! after that I moved on to the Akai S1000 & the S3000. That's when I graduated from just making beats and really started producing. Worked with singers, MCs, poets you name it. After that I discovered the MPC 3000 and it was game, set & match lol P: Everyone seems to have jumped on the Dilla bandwagon, do you think he's all of that like the media have made him out to be? KD: Hmmm..the Dilla thing... Listen, I look at it like this. Dilla was a genius when he was here and it's just a shame that there weren't this many people on his di ck at the time. I think death does that to some people though, u regret not being there when they were alive so even in death u try to compensate. On the downside people get too caught up and try to outdo each other. Like 'nah man, I love Dilla more than u!' [laughs] forgetting the essence, which is that Dilla was all about the music not the bullshit. On the upside it means his legacy actively lives on, newer generations get hip to his music and it spreads. On another note I'm STILL hearing Dilla clones coming out the woodwork. He left such a huge impact, though unsung, some people try to capitalise off it. Others are brand new to this and think they're the first to re-create that sound, especially the Fantastic vol 2 era. There's a huge difference between being inspired or influenced and cold Xeroxing. P: Can you remember your favourite performance? KD: Off the top of my head, there was a show we (M.a.D Danger) did at The Scala. I felt it that night, near full house, walked past man like Rodney P on my way to the stage. I think he just came off stage if I remember right. We repped and especially for an unknown, unsigned group. Felt on top of the world that night. P: Is their a performance that you've done and said to yourself that you could of done that better? KD: There's always room for improvement but for me the moment overrides everything. Hindsight is 20/20 so it's all in the preparation and the moment of execution. I'm always thinking about how to improve. P: Your the first artist of my Mixtape Collaboration. How did you feel listening to your tracks back to back? KD: It felt good to hear it back as a completed project. Made it feel official cos a lot of those tracks were unreleased and I always wanted to hear a DJ cutting up my choons. Giving it a few jugga juggaz [laughs]. I was happy with the way you set it up and sequenced it. The feedback was really good too so it was the right decision, a definite win-win. P: Last question. What will we be expecting in the future from you? The unexpected [laughs]. KD: You can expect new music from me and my crew Third Stream which is DJ Son of Dan, Dziko, Enji and yours truly. We're all artists in our own right but collectively we are a production unit primarily as well as band and creative conduits. I've got a few solo projects in the pipeline, look out for my first release in April 2013 including some videos, and I'm taking bookings for shows so promoters get in touch. Just stay tuned via www.twitter.com/kennydustmusic for more info. Check out CASSAVA by Kenny Dust
Also check out DUST PARTICLES SAMPLER by DJ Psykhomantus
Breakin' Convention's returns with another Open Art Surgery which featured Buckness Personified, Creating Echos, Jo Read, mO'SeaN, Mo'Stef and Soul Mavericks. The event was hosted by the one and only Jonzi D and all the music was played live by (me) DJ Psykhomantus Check Mo'Stef piece called "No Impression Just Expression" Music by Psykhomantus
